Exhibitors Herald (Dec 1919)

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EXHIBITORS HERALD i u : i : [ r : i , : . . : ; i ; ; . , : l l ill: ; . : : : 1 1 1 ; n : Li ; i: j ; 1 1 [ [ Jt u 1 1 1 N u : : : : 1 : i ; i ^ ; ; i u u 1 1 l 1 1 [l j ; < 1 1 L : i l N i ; j i l . l L : , : j : l 1 1 l u j : : l l l l . , j l . : l l 1 1 '= POINTED TRUTHS ON PICTURE PRODUCTION $ | A Plain Talk on His Plans for the Future With a List of Few Things He Will Not Do »| By MARSHALL NEILAN J? iiiiiiiimiiiMiniiiiM now able to give their respective talents full sway. * * * During the past few months I have closed for some of the most widely known novels and plays in the country. The fact that they are well known, however, was not the chief reason for my purchasing them. I have long ago realized the evil in "buying a title" and trying to make a' photoplay out of an impossible story. There are enough popular subjects that really present good motion picture stories available. My plan is to make pictures with stories that are essentially motion picture stories. I would rather produce a good story that was never heard of than a story that for picture purposes could only boast of a famous title. "The River's End," my initial independent production by James Oliver Curwood, happens to be a nationallyknown novel; at the same time it is an ideal film story. In fact, book critics even before the motion picture rights were considered, predicted that the story would make wonderful material for the screen. I believe in offering a production on its merits as a production and not for its publicity possibilities. A good production, even if it presents a story never heard of, will compel profits. Whereas, past performances have proven, a famous story that is of questionable motion picture value, is a risky investment. * * * In keeping with this idea I will not attempt to present films written around stars. First, comes the story, and then I will obtain the best talent possible to portray my story. This is the only real way of getting the best out of a production. During the coming year the producer will occupy a position of strength never before approached. Radical steps will be taken to get his product to the exhibitor without the overhead with which he is now charged for the privilege. The exhibitor and producer will undoubtedly get closer together during the next twelve months than ever before. There are various other plans which I have in mind at present which, however are not ready for publication at this time. The coming year will see a general upheaval in the industry which will smash old traditions and systems. Regardless of what happens, Quality of Production will always reign. URIXG the year now drawing to a close, I have perfected arrangements which clearly indicate that the coming season will be the most important for me since I became affiliated with the industry some nine years ago. In 1920 I hope to realize the ambitions and ideals in motion picture production which I have held for a long time. In the formation of Marshall Neilan Productions I attain the basic principles for the fulfillment of these ambitions and for the first time in my career as a director, I will be able to produce pictures as I feel they should be produced. The output of my organization cannot at this time be scheduled. Under my plan to make good pictures regardless of any set quantity, such a thing as a detailed release schedule for my year's product is out of the question. I may make eight pictures and I may make two, it all depends upon the results I attain in my work. When one picture is finished, which means it has come up to certain standards. I will start the next and not before. I can state, however, that my pictures will be good attractions both in an artistic way and from the standpoint of the box-office. This is not said with any feeling of egotism. It merely means that I will not release a production unless it reaches a standard at least on par with my best efforts of the past. * * * If it takes me six months to make a good picture, I will be satisfied at the end of that time, that the quality of my production warrants this effort. After all, the returns on one big success, are greater than those on two or three poor ones. So the time consumed in making these poor ones might better be used in carefully putting on one good one. I do not guarantee for the coming year a string of productions and urge the exhibitor to depend upon my product as "the backbone for his year's business." Marshall Neilan Productions is one organization that carries out in spirit and to the letter the phrase which so many organizations would like to, but because of overhead, cannot live up to, namely, fewer and better pictures. I will not permit my productions to be sold in a group for I cannot say how the quality of my third release will compare with that of my first. My pictures are booked individually and upon the merit of each will depend the returns. Each picture is handled as a separate institution and each film will stand or fall on its own merit. * * * Motion pictures simply cannot be turned out like any other merchandise so that a fixed price can be set on a given output for a year. There are so many elements Neilan-Isms After all, the returns on one | | big success are greater than g | those on two or three poor | 1 ones. So the time consumed | | in making these poor ones I | might better be used in care 1 | fully putting on one good one. j I will not permit my pictures | | to be sold in a group, for I § | cannot say how the quality of I | my third will compare with | | that of my first. I Each picture must be han j | died as a separate institution | I and each film must stand or | | fall on its own merit. Motion pictures simply can j I not be turned out like any other § | merchandise so that a fixed | | price can be set on a given out | | put for a year. There are so many elements 1 | that enter into the success of a | I film that a given standard can | I not be consistently maintained | | or treated in a blanket arrange | | ment. | I have long ago realized the | | evil in "buying a title" and try | | ing to make a photoplay out of | | an impossible story. I would rather produce a | | good story that was never I | heard of than a story that for | | picture purposes could only 1 | boast of a famous title. Smiimii iiiiiiiiiiiiiiiiiiiiimiiiiiiiniiiiiiiiniiiiiiiiiiin nmnmnnn rmmninnmrnmn il that enter into the success of a film that a given standard cannot be consistently maintained or treated in a blanket arrangement. A minimum degree of quality which, in itself, might be even a high standard, can to a certain extent be guaranteed but that is hardly a fair basis on which to establish a price. For nine years I have been carefully watching the results of others and one of my reasons for this was my ambition to some day assemble the talents of those I considered the best, in order to perfect a master producing organization. With the formation of Marshall Neilan Productions I feel I have surrounded myself with such an organization. The exceptional results in the past by the individuals comprising the personnel of this company, even under common handicaps, indicate what wonderful heights they can attain if allowed to work under proper conditions. Thus it is only natural that I expect unusual achievements from these men and women because I feel that, for the first time, they are 101 French Films for America Adolphe Osso in a letter to Albert Capellani announces that he has installed in his Paris office in Rue St. Honore, the largest projection room in that city, which will be placed at the disposal of all Americans who go to Paris to show and sell their films. Mr. Osso will return to New York within three months and will bring two important French films, "The Little Cafe," starring Max Linder and "The Little Red Devil," with Gaby Deslys.